Available Now, from Kronos records.


Directed by no less than four film makers, Richard E. Cunha, Gustav Gavrin, Ray Nazzaro and Albert Zugsmith, the movie is an entertaining production and does I have to say sustain an air of drama and tension, but also has an equal amount of lighter moments along the way. Released in the UK as WHEN STRANGERS MEET which was the title of the original novel by Robert Bloomfield on which the films screenplay was based, the movie had the title DOG EAT DOG in the USA and MORTE VESTITA DI DOLLAR in Italy. The score composed and conducted by Carlo Savina is a work that includes several musical styles all of which are rich in melody and filled with drama and vitality. The score is a vibrant and energetic one, the composer combining the big band jazz sound with that of a more luxurious and stylish aura that is linked with many movies that were produced during the 1960, s. For much of its duration the soundtrack leans towards a more traditional jazz style, which is in keeping with the films storyline and the period in which it is set. He composer utilizing to great effect piano, woodwind and at times lush string interludes that are quite grandiose and opulent sounding.

The Maestro also employs a style and sound that is very much akin to the composing style of fellow Italian composers such as Piero Umiliani, Armando Trovaioli and Gianni Ferrio to identify a few. Savina makes effective use of organ solos and introduces and integrates these performances at key points within the work, the sound and style lending much support and atmosphere to the score as well as enhancement to the scenarios unfolding on screen. The use of organ was commonplace in so many Italian soundtracks, the instrumentation adding touches of drama, melancholy and fleeting hints of the sinister, when employed. The opening cue sets the scene perfectly for what we are about to hear, it is a fast-paced swing composition for percussion and brass and although short lived makes an impact immediately. Track two, is a more elaborated version of the opening cue and contains nice muted trumpet performances as well brushed drums and classy sounding piano. Track number three, is more dramatic in its sound and style, the composer employing strings that are supported by both percussive elements and brass, that when combined create a tense and urgent sound. Other cues as CONCERTO ROMANTICO, are quite powerful and emotive, the composer employing solo piano underlined by the string section, which add a certain classical sounding persona to the score. Whereas tracks such as RITMI DI LATTA are pure jazz/swing with vibes and saxophone combining with guitar, piano, percussion, bongos, and bass to purvey a groovy sounding piece, that has an infectious pace and appeal. When listening to this and other scores by the Maestro, it becomes very clear why he was in such demand and how versatile and talented he was.

1.  Swing Frenetico
   2.  Stasi
3.  Concerto Romantico
4.  Ritmi Di Latta
5.  Atmosfera Torbida
6.  Suona Un Organo
7.  Morte Di Un Ladro
8.  Il Dramma
9.  Caccia Spietata
10.  Grottesco
11.  Delitto
12.  Incerto Candore
13.  Agguato ed Assassinio
14.  Atmosfera Sospesa
15.  In Giallo
16.  Ritratto Di Signora
17.  Sospensione

tracks   1-17 The Original LP Program

tracks 18-36 are previously unreleased bonus tracks, available for the first time ever!


THE MUMMY (2017).


Tom Cruise in THE MUMMY, well not entirely sure on this, for me the jury is still out. I am used to Mummy movies from studios such as Hammer etc, so maybe the MUMMY 2017 is just too much to take. The score however is something else. We all love Jerry Goldsmiths score for THE MUMMY and, we are all just as fond of the musical scores for Mummy adventures as brought to the screen by the house of horror and studios such as Universal. So, when I heard that Brian Tyler was to be the composer on this latest re-telling of the story, I was quietly confident that we would be delivered a score that was filled with action, suspense and more importantly some good thematic material, glad to say I was not wrong. This is a large-scale work, which is written for full orchestra and includes many choral performances throughout that are themselves bolstered and supported by various synthetic sounds. I was immediately taken with the composers grand and epic approach to the movie, his rasping and growling brass flourishes instantly grabbing one’s attention, these alongside and fused with driving strings that are embellished by thundering percussive elements are imposing and at times fearsome. I have always been a fan of Tyler, and particularly enjoyed his rhythmic yet grandiose approach to IRON MAN and his epic and powerful score for THOR THE DARK WORLD, he has this knack of creating fantastic film music that fits the movie like the proverbial glove but at the same time stands on its own as just a great and inspiring piece of music. With Brian Tyler you at least get a score that is filled with real themes that develop, breath and grow throughout the score, there are none of these electronic unlistenable grating compositions, if indeed these are compositions that have graced or disgraced block busters over the past few years, by composers who we will not mention now. Tyler’s score for THE MUMMY is a class act, it will enthral and delight film music fans and for me as always Tyler evokes many memories of the style of the late Jerry Goldsmith with also a nod in the direction of Bernard Herrmann. In many way’s this is a score that is written and performed in the same fashion and passion as good old fashion film music which sadly seems to be a thing of the past these days, it is a work that is commanding and at the same time mystically emotive, although poignancy is at times rather scarce, the composer often introducing a cue with something that is not at all action orientated but transforming a lilting motif into something rather more sinister, melancholy and calm more often than not falling by the wayside when things really get going, this is a nonstop, no holds barred action score that has real heart and character and will I know be returned to many times after an initial listen. Tyler hits the spot on every occasion, each time stepping up the mark and enhancing, underlining, punctuating and supporting. His artistry creating a soundtrack that is at times as foreboding, and virulent as the MUMMY itself.

One to add to your collection, a real rollercoaster ride with so many twists and turns it may well send you dizzy. One cue that particularly evoked Jerry Goldsmith for me was track number 24, FORWARD MOMENTUM, swirling strings and timpani supported by brass, woodwind and a scattering of percussion create a wonderfully tense and fraught mood, with the strings carrying along the remainder of the instrumentation on a surge of excitement that is unrelenting and unstoppable, propelling the listener into a volatile and frenzied situation. The same can be said for SANDSTORM another piece that is a showcase for the string and percussion sections, this time supported by choir and brass that together generate and electric atmosphere. So highly recommended.





As you are probably aware I at times do say that modern film music is nowhere near as good or as thematic as material that I grew up with written by Goldsmith, Bernstein etc, the recent glut of superhero films have been disappointing both as movies and in the musical score or sound design department, let’s face it and say it, Zimmer’s Superman scores were pretty uninspiring and recent contributions from other composers seem to have fallen flat and become instantly forgettable, in fact they were forgettable as soon as they began to play in most cases. So, with WONDER WOMAN I thought yes, a glimmer of light in the musical expertise of Rupert Gregson Williams, I liked his work on TARZAN and THE CROWN too showed some little glints of light musically speaking, but sadly alas NO, WONDER WOMAN the music is not worthy of the film it is intended to enhance. Harsh I hear you say, well that’s how I hear it anyways. The movie itself I think is probably the best superhero movie to hit the screens since, ummm let me think? Oh well anyway its very good. I was disappointed in the fact that the composer really did not infuse any real originality into the score, this could be a soundtrack penned by any number of Hollywood film music composers and it just oozes with the influences of Zimmer, with its brooding strings its gradually building themes if you can call them that and its lumbering percussive elements. It is in my opinion a score that never really develops, it is always bubbling under if you see what I mean, the composer does on occasion let fly with something that approaches action or superhero stuff, but again where are the themes where are the central and core musical moments and the real foundations of the score on which great or super themes can be built, I worry about the future of film music, it seems to be stuck in the doldrums and just very occasional we get a treat, WONDER WOMAN is a very entertaining movie, well made and well-acted but the music certainly is not WONDER-FULL. I think Hollywood, has to get away from using certain composers for certain types of movies, maybe even not think HANS ZIMMER straight away, after all there are far more competent and original composers out there, maybe even think outside the box and get someone in that is fresh and new, just a thought. This movie is good, with a more substantial and vibrant score it could have been great.

249. La noche en que una becaria encontró a Emiliano Revilla.

released soon on KRONOS RECORDS.


Thanks once again to Kronos records we can savour and enjoy a film score that ordinarily might have been overlooked and not released on any form of a recording. The music from 249. La noche en que una becaria encontró a Emiliano Revilla, is courtesy of Spanish born composer, Jose Sanchez Sanz, who I do not think will be that familiar to many collectors of music from movies, but, he is a composer who has already a number of film scores to his credit. The score for this documentary is a varied one, the composer successfully fusing both the conventional instrumentation of the orchestra with that of the synthetic and electronic aids that are utilised nowadays by composers and musicians. These two mediums however never clash or overpower each other, the composer has combined them in such a way that they complement, enhance and most importantly support each other and together create a work that is not only innovative and compelling but also a work that is entertaining. Strings and piano are merged with various percussive elements and a subtle scattering of woodwind, these elements jointly purvey superbly a sound and style that is tense, fearfully hesitant and dramatic, although saying this the score also has a slightly less serious side with glimmers of melancholy and nuances of warmth shining through. I suppose one could say this is a brooding soundtrack and a slow burning score, as it has three musical personas, the sad and slightly romantic face being underlined by a richly dark and unsettling side that itself is given more power and credence by the composers fertile and imaginative orchestration skills, that make the work sound larger than it is. Then we have the delicate and fragile character of the work which percolates through the shadowy and nervous material, the composer at one point adding a fleeting and ever so subtle accordion sound that is not that pronounced or prominent but still gives the work that something more, making the listener take even more interest in what is building musically. At times, I was reminded of the Morricone, Nicolai or Cipriani of the 1960, s, mainly because of the use of a somewhat ominous sounding piano which was embroidered by woodwind and strings, although together they create a tense and at times uneasy mood they still manage to be melodic in a strangely attractive and charming way, there were also occasions when I was reminded of other composers such as Dave Grusin, which cannot be a negative thing. The composer builds layers of music and as the work progresses adds various colours and musical notions at key points, these generate a delicious and riveting collection of themes and sub themes, that become almost addictive as the work grows. This is a score that initially sounds European, which given the composers origins is a somewhat accepted conclusion, but then we have another sound or style that begins to filter through and intertwine with the already established Euro sound, this gains momentum as the score develops and has affiliations to the Hollywood thriller score of both today and yesterday.




It is a soundtrack that figuratively oozes sophistication and quality, a work that is innovative, lingering and exciting, but moreover one that is entertaining and rewarding. I am sure that once heard it will also be a work that will convince collectors and connoisseurs of film music that this is a composer who’s name we should be aware of as a talent within the genre of movie scoring and also should look forward to more of his music being released. Jose Sanchez Sanz was born on July 4th,1970 in Madrid Spain. He is known for his work on the movies, I,LL SEE YOU IN MY DREAMS (2003), H6 DIARIO DE UN ASESINO (2005) and THE SYMMETRY OF LOVE from 2010 which contained a jazz influenced soundtrack that was haunting and appealing. As well as scoring feature films the composer has also worked on a number of shorts, television projects and game scores, his first scoring assignment being in 1993 when he worked on EL PRIMERIZO for directors, Francisco de Lucas and David Serrano. His first feature assignment came in 1996 when he wrote the score for MENOS QUE CERO, more short film assignments followed in that year and he scored his second feature a drama entitled BESOS Y ABRAZOS in 1997. The composer has worked steadily since his career in film/TV and media music began and has been involved with over 60 projects to date, his most recent being the short film, VELATORIO (BARROCO) for director Aitor De Miguel in 2016. The composers style is not a uniformed one, in fact his musical style seems to alter each time and he is able to adapt to each project he works on and is successful in fashioning a unique and singular musical voice for every storyline and scenario. I know it is a term quite freely utilised these days, but Jose Sanchez Sanz is quite literally chameleon-like in his approach to writing for film and creates music that enhances and embellishes, giving support and depth to certain characters and underlining situations that are unfolding on the screen. He does this without being intrusive or overbearing, which is as we all know the way in which good film music should work, I am also pleased to say that he also invents some great melodies along the way. The film 249. La noche en que una becaria encontró a Emiliano Revilla, tells the story of the night that the entrepreneur reappeared after being kidnapped by ETA. Told in documentary form with a duration of 77 minutes, it is an interesting and at times a thought provoking piece of cinema, directed by Luis Maria Ferrandez.





It’s amazing that the Pirates of the Caribbean series began back in 2003, and is still by reactions from fans of the series on the latest addition to its cycle, going strong. The musical scores have played a big part in the popularity of the movies and have also become something of a standard on the radio and in concert performances of film music. The first movie in the series had a score credited to composer Klaus Badelt who in my opinion did a great job of enhancing and underlining the action and very tongue in cheek and over the top antics of Captain Jack Sparrow masterfully portrayed by the highly talented Johnny Depp, and this is where I get confused Badlet scored the first movie, yes? So Badlet also created the now familiar PIRATES OF THE CARIBBEAN theme Yes? Or maybe no? because the next instalment, DEAD MANS CHEST also contains the very same theme but the credit this time goes to Hans Zimmer, confused yes, I am a little me hearties. Then came AT WORLDS END which followed on very quickly behind DEAD MANS CHEST in fact it was in cinemas less than a year after DEAD MANS CHEST, again music credited to Hans Zimmer, so at this point are we thinking who is Klaus Badlet? Up next we have in 2011 ON STRANGER SHORES, again its Mr Zimmer, but is the theme still present yes me hearties it be there arrrr, oops sorry was slipping into character whilst splicing the main brace and standing on the poop deck. So, I am still confused, Badlet or Zimmer, or did Zimmer have a hand in the original? when the films were not popular or an unknown quantity, then when the films began to gain a large audience Zimmer decided ummm now hang on a sec, maybe I should have agreed to have my name on the first movies credits for that theme. There is certainly no doubt that the theme is filled with everything that is love him or hate him Hans Zimmer, it evokes BACKDRAFT for example and brings into play the grandeur and the dramatic power of GLADIATOR, so maybe Zimmer did write it, and very graciously gave the credit to Badlet, not sure, so I won’t pursue this any further because I am becoming as befuddled as Captain Jack. The scores for the PIRATES OF THE CARIBBEAN series are probably some of the best and arguably the worst of the 21st century thus far, they are filled with the correct amount of yo ho ho and are also bulging with numerous bottles of rum, copious amounts of skulls and cross bones etc, and if anyone says any different I will keel haul you and make you walk the plank. So, to the latest offering PIRATES OF THE CARIBBEAN-DEAD MAN TELL NO TALES, OR SALAZARS REVENGE, see the motley crew in search of the Trident of Poseidon, the tale is filled with action and mystical goings on. The movie has been met with mixed reviews and I must say by looking I have found most of the critic’s reviews to be a little negative, it is sad at times when a franchise or series of movies out stays its welcome, and maybe just maybe Pirates has done this and really should now be heading towards Davy Jones locker to rest forever.


The score for DEAD MEN TELL NO TALES is credited to Geoff Zanelli, who although at times does burst into the Badlet, sorry Zimmer Pirates theme at times, has for the most part as far as I can hear written an entirely original sounding work for the movie, which is something of a breath of fresh air these days in film. However, there are as I say certain points win his score where the influence of the past Pirates scores seep through, but this is certainly not a negative. Zanelli’s score for me is more developed or has more substance than the past two works in the series, but also it does somehow lack any real punch or power as I was waiting each time it seemed to get underway for it to build and become even more of a commanding powerhouse of a score, but instead each time it just held back. Please do not take this the wrong way, as the music is for the most part good, but it is a basic action score in the end with no real surprises and nothing that kind of stands out or comes along and hits you in between the eyes and wows you. There is no doubt it is a serviceable score within the movie, but away from it as a listening experience I was not bowled over, three exceptions are the tracks entitled KILL THE FILTHY PIRATE, I,LL WAIT, I,VE COME WTH THE BUTCHERS BILL and TREASURE which are in parts interesting because the composer manages to sustain a decent pace and momentum throughout both, with that Badlet, No sorry, Zimmer theme weaving in and out. Zanelli is a fine composer and I have for many a year admired his scores, but this PIRATES episode I think is maybe PIRATES OF THE CARIBBEAN-ON TEPID MUSICAL WATERS.